唐宋时期的罗汉信仰和罗汉艺术

自玄奘《法住记》译出之后，罗汉信仰及其造像艺术在中国普遍推开。罗汉信仰虽源于古印度，然而，古印度尚未见到明确的罗汉艺术，因而，这基本上可以视为中国僧众的创造。中国佛教美术中常以高僧大德为模样塑造罗汉形像，其形貌分为梵汉两类。罗汉艺术自唐代始有遗作留存，至五代北宋时期形成了两种艺术风格：以贯休为代表的“禅月样”和以李公麟为代表的“龙眠样”。前者为野逸派，以梵貌奇古为造型特征；后者为世态相，以笔墨线条展示艺术品位。北宋以后的罗汉艺术大致在这种风格的基本上演绎发挥，并成为最重要的佛教美术主题。

Arhat Belief and Art in the Tang and Song Dynasties

"Luohan" is the short-form of Sanskrit word "arhat".After Xuan Zang translated Fa Zhu Ji,arhat belief and art were widespread in China.Though it originated in ancient India,no typical arhat art have been found in India.So it can almost be taken as the creation of Chinese monks.In Chinese Buddhist art,the images of arhats are often modeled in dignitary’s likeness and can be divided into two kinds: Sanskrit and Chinese.The retained arhat art works can be dated back to the Tang dynasty,and two arhat art styles were formed till the Five Dynasties and Ten Kingdoms and Northern Song dynasty: "Chan Yue style" and "Long Mian style" represented by Guan Xiu and Li Gonglin respectively.The former is unrestrained and spiritual while the latter is earthly and concrete.After the Northern Song dynasty,arhat art were developed roughly on the basis of these styles,and became the most important subject of Buddhist art.